1 00:00:01,120 --> 00:00:03,319 Speaker 1: And now Audio Theater Central. 2 00:00:11,279 --> 00:00:13,839 Speaker 2: Hello, welcome to Audio Theater Central. This is the show 3 00:00:13,880 --> 00:00:18,399 that explores family friendly audio drama through news, reviews and interviews. 4 00:00:18,760 --> 00:00:21,800 I'm your host, J D. Setter. This is episode two 5 00:00:21,879 --> 00:00:26,719 twenty two. This is a bonus episode. We had a 6 00:00:26,760 --> 00:00:29,600 really great interview we wanted to share with you, and 7 00:00:29,760 --> 00:00:32,920 we've got some other content coming up in the next episode, 8 00:00:32,960 --> 00:00:34,880 so I decided to just go ahead and release this 9 00:00:34,920 --> 00:00:38,280 as a special bonus episode. We've got an interview with 10 00:00:38,399 --> 00:00:42,000 actor Ian Lolam coming up, a bit of feedback from Jacob, 11 00:00:42,359 --> 00:00:45,280 and a couple of quick audio drama updates to get to. 12 00:00:46,240 --> 00:00:50,200 So I hope you enjoy this extra bonus episode. Let's 13 00:00:50,200 --> 00:00:50,799 get into it. 14 00:00:50,880 --> 00:00:54,079 Speaker 1: We interrupt this program to bring you a special report. 15 00:00:53,960 --> 00:00:56,079 Speaker 2: And in other news tonight. 16 00:00:55,960 --> 00:00:58,960 Speaker 1: A brief look at the headlines. Now they want exciting, 17 00:00:59,200 --> 00:01:00,000 fast peace news. 18 00:01:00,119 --> 00:01:02,840 Speaker 3: Is it's relevant and entertaining like this. 19 00:01:03,840 --> 00:01:07,200 Speaker 2: These are really just a couple of brief reminders here 20 00:01:07,239 --> 00:01:11,280 in the updates segment this time, don't forget about the 21 00:01:11,359 --> 00:01:15,200 third annual Christmas Audio Drama Spectacular coming up in just 22 00:01:15,239 --> 00:01:18,920 a few days on Friday, December fifth. There is a 23 00:01:19,000 --> 00:01:21,280 link in the show notes of this episode to a 24 00:01:21,319 --> 00:01:24,079 post on our website with all the details about how 25 00:01:24,120 --> 00:01:26,599 to tune in. But it's going to be about four 26 00:01:26,640 --> 00:01:31,760 hours of great Christmas audio programming hosted by me and 27 00:01:31,840 --> 00:01:35,319 brought to you by ATC and Odyssey Geek. And there's 28 00:01:35,359 --> 00:01:38,640 going to be some exclusive behind the scenes information from 29 00:01:38,879 --> 00:01:40,920 cast and crew that are involved in each of these 30 00:01:40,920 --> 00:01:44,680 productions that are highlighted in this playlist. So it's going 31 00:01:44,760 --> 00:01:46,400 to be a lot of fun. Be sure to join 32 00:01:46,480 --> 00:01:48,719 us for that, and again link is in the show 33 00:01:48,719 --> 00:01:51,879 notes with all the details, so hope to see you there. 34 00:01:53,760 --> 00:01:58,200 Also just another quick reminder that, as always, we will 35 00:01:58,280 --> 00:02:01,680 have our Black Friday Audio Drama deal's post. It will 36 00:02:01,680 --> 00:02:03,640 be coming soon, so keep an eye out for that. 37 00:02:04,920 --> 00:02:08,120 We try to get that posted as soon as possible 38 00:02:08,280 --> 00:02:11,120 right around Thanksgiving so you have a chance to look 39 00:02:11,120 --> 00:02:12,960 it over and see what you might want to get. 40 00:02:13,080 --> 00:02:17,080 But there are some deals coming, so be sure to 41 00:02:17,159 --> 00:02:20,039 keep an eye out for that Black Friday Audio Drama 42 00:02:20,039 --> 00:02:24,000 Deals post on our blog. All right, well, let's get 43 00:02:24,000 --> 00:02:24,719 to the interview. 44 00:02:25,400 --> 00:02:27,960 Speaker 1: I have some very important information and I thought I'd 45 00:02:28,000 --> 00:02:31,400 be getting it into the hands of a real reporter, Sir, Sir, 46 00:02:31,439 --> 00:02:34,080 can I speak to a moment. Oh, well, there's nothing 47 00:02:34,120 --> 00:02:36,439 to it. I just ask you the questions and you 48 00:02:36,520 --> 00:02:39,240 answer them in the tape recorder. Here play the interview. 49 00:02:41,400 --> 00:02:43,879 Speaker 2: Well. Ian Lalam is an actor for the stage and 50 00:02:44,080 --> 00:02:47,560 works full time at Sitan Sound Theater in Branson, Missouri, 51 00:02:48,080 --> 00:02:51,159 and over the last eighteen months or so, he has 52 00:02:51,199 --> 00:02:54,800 started to get into acting for audio drama. If you 53 00:02:54,960 --> 00:02:58,199 heard the Road to kay Luma, the new fantasy mini 54 00:02:58,240 --> 00:03:01,560 series that we have highlight here on the show recently, 55 00:03:02,039 --> 00:03:05,159 then you have heard his voice. And though I haven't 56 00:03:05,199 --> 00:03:08,520 met him in person, I have had some online interactions 57 00:03:08,560 --> 00:03:13,159 with Ian via email on a couple of different regarding 58 00:03:13,159 --> 00:03:15,240 a couple of different projects, and he seems like a 59 00:03:15,280 --> 00:03:17,960 really nice guy, so I was really happy to have 60 00:03:18,080 --> 00:03:21,240 him come on the show. Austin Peachey met up with 61 00:03:21,319 --> 00:03:25,800 him recently and talked about his journey to stage acting 62 00:03:25,919 --> 00:03:30,400 and then transitioning to acting for the microphone, and this 63 00:03:30,479 --> 00:03:33,960 is a really great conversation. It was really interesting to 64 00:03:34,639 --> 00:03:38,159 hear the perspectives of a professional stage actor who has 65 00:03:38,240 --> 00:03:41,360 moved into the world of audio. So thanks to ATC 66 00:03:41,439 --> 00:03:44,719 contributor Austin Peachee for taking the time to sit down 67 00:03:44,800 --> 00:03:47,919 with Ian and Thank you to Ian for being willing 68 00:03:47,960 --> 00:03:50,520 to do this. And there is a photo in the 69 00:03:50,520 --> 00:03:52,439 show notes of the two of them at the time 70 00:03:52,520 --> 00:03:54,560 they recorded this interview if you want to check that out. 71 00:03:55,280 --> 00:03:57,759 And after this interview, I'm going to share some of 72 00:03:57,759 --> 00:04:00,000 the other projects that he's been in, as well as 73 00:04:00,120 --> 00:04:03,759 a few that are still yet to come. So let's 74 00:04:03,840 --> 00:04:04,479 jump into it. 75 00:04:05,759 --> 00:04:10,319 Speaker 4: Hello ATC listeners, this is awesome Peachy on location in Branson, Missouri. 76 00:04:10,759 --> 00:04:15,479 Just finished eating some really great barbecue with a actor 77 00:04:15,599 --> 00:04:19,079 from AUTI drama that you're probably familiar with, and if not, 78 00:04:19,160 --> 00:04:21,079 you're gonna learn more about him now. I am here 79 00:04:21,079 --> 00:04:23,839 with Ian Lullum. Welcome to the show. Ian, Hello, thanks 80 00:04:23,839 --> 00:04:27,319 for having me. So some people know you from your 81 00:04:27,360 --> 00:04:29,360 voice acting, but for those that don't know, you're also 82 00:04:29,360 --> 00:04:31,439 a stage actor. So how did you become a stage 83 00:04:31,480 --> 00:04:32,439 actor in the first place. 84 00:04:33,879 --> 00:04:37,680 Speaker 1: It's kind of an interesting story because it's something that 85 00:04:37,759 --> 00:04:41,040 I decided that I wanted to do when I was 86 00:04:41,839 --> 00:04:44,399 in college. I mean, I'd done theater in high school 87 00:04:44,399 --> 00:04:48,120 and stuff, and I actually my dad wasn't thrilled about 88 00:04:48,120 --> 00:04:51,279 me wanting to go to school for theater. He's like, 89 00:04:51,319 --> 00:04:54,800 you're not gonna make any money, which we'll come back 90 00:04:54,839 --> 00:04:56,879 to that because there's a big twist of irony that 91 00:04:56,920 --> 00:05:00,639 comes from that conversation. But So went to school to 92 00:05:00,680 --> 00:05:04,360 become a music educator, and then somewhere in college I 93 00:05:04,399 --> 00:05:08,279 was like, I do not like this. I don't want 94 00:05:08,639 --> 00:05:12,000 to be educating students because I was being I was 95 00:05:12,160 --> 00:05:16,120 very I was very upset if students didn't care, like 96 00:05:16,240 --> 00:05:17,560 you know, if they don't want to learn. I was like, 97 00:05:17,600 --> 00:05:19,839 I don't want to do this. So then I finally 98 00:05:19,879 --> 00:05:23,759 just went, you know what, forget it. I'm switching my major. 99 00:05:24,120 --> 00:05:28,240 And so I decided to do a technical theater and 100 00:05:28,399 --> 00:05:31,120 technical theater if you don't know is you know design, 101 00:05:31,199 --> 00:05:33,759 whether that is you know, lighting design or building sets, 102 00:05:33,800 --> 00:05:37,240 designing sets, costumes, et cetera. And so my focus was 103 00:05:37,279 --> 00:05:39,240 on technical theater and design. So I wanted to do 104 00:05:39,319 --> 00:05:44,120 set design, and we'll jump ahead. I got that degree 105 00:05:44,279 --> 00:05:48,040 and I moved. I was in Minnesota at the time, 106 00:05:48,519 --> 00:05:52,480 moved to Denver for a project that then promptly fell through. 107 00:05:53,680 --> 00:05:55,759 So I was like acting life right right, And then so 108 00:05:55,759 --> 00:05:58,360 I'm like, oh, great, I don't have this technical theater 109 00:05:58,439 --> 00:06:00,839 job that I thought I had. And then I found 110 00:06:00,839 --> 00:06:03,959 out about sight and Sound, and so I had auditioned 111 00:06:04,079 --> 00:06:06,680 and I didn't get in, but I liked what the 112 00:06:06,720 --> 00:06:10,600 company had to offer, and so I started working backstage, 113 00:06:11,360 --> 00:06:14,360 which sounds easy, but no. I applied and I waited 114 00:06:14,399 --> 00:06:16,839 and I waited, and I finally got an interview, and 115 00:06:16,920 --> 00:06:23,360 I moved to Branson, Missouri, and then eventually I auditioned 116 00:06:23,360 --> 00:06:26,240 again and I made it into the cast. And the 117 00:06:26,279 --> 00:06:29,160 bit of irony is my dad moved to Branson and 118 00:06:29,199 --> 00:06:31,519 he works at the theater now, so he has a 119 00:06:31,560 --> 00:06:36,439 full time theater gig and he's definitely paying his mortgage. 120 00:06:36,480 --> 00:06:39,120 So you can make money doing theater if you're in 121 00:06:39,160 --> 00:06:39,800 the right place. 122 00:06:40,680 --> 00:06:43,360 Speaker 4: Nice, can you tell us some of the shows you've 123 00:06:43,360 --> 00:06:44,600 done at Site and Sound that people want to be 124 00:06:44,639 --> 00:06:45,160 familiar with. 125 00:06:45,759 --> 00:06:47,959 Speaker 1: Yeah, so I've worked at Sitan Sound for ten years 126 00:06:48,639 --> 00:06:53,079 as a technician. I worked backstage for Jonah, Moses and 127 00:06:53,439 --> 00:06:56,959 Miracle of Christmas and Samson, and then the second year 128 00:06:57,000 --> 00:07:00,120 we did Samson, I made it into the cast and 129 00:07:00,160 --> 00:07:05,160 then I have done Noah, Jesus Esther and now we're 130 00:07:05,199 --> 00:07:07,800 doing David Oh. And I've also done Miracle of Christmas 131 00:07:07,800 --> 00:07:08,600 as an actor as well. 132 00:07:09,120 --> 00:07:14,079 Speaker 4: Nice, So you have an experience on the stage. Now, 133 00:07:14,120 --> 00:07:15,800 how did you make that jump from acting on the 134 00:07:15,839 --> 00:07:17,360 stage to voice acting? 135 00:07:18,319 --> 00:07:21,120 Speaker 1: So that was kind of an accident. Actually, I was 136 00:07:21,199 --> 00:07:26,199 interested in trying to add to my resume potentially some 137 00:07:26,240 --> 00:07:29,519 film stuff, so I was looking for some smaller film 138 00:07:29,560 --> 00:07:33,480 projects through a casting website and I came across this 139 00:07:33,600 --> 00:07:36,439 audition for Road to Queluma, which is the show that 140 00:07:36,600 --> 00:07:40,959 Jesus Film Project and Family Life put together. And at 141 00:07:40,959 --> 00:07:42,439 the time, I didn't know it was an audio drama. 142 00:07:42,439 --> 00:07:46,079 I actually thought it was maybe an animated film because 143 00:07:46,079 --> 00:07:48,800 I hadn't seen anything else on this website other than 144 00:07:48,879 --> 00:07:52,399 like film or theater gigs. So I auditioned for it 145 00:07:52,439 --> 00:07:55,199 thinking it was an animated film. I knew it was 146 00:07:55,240 --> 00:07:59,560 like voice recording, and then I got in and it 147 00:07:59,600 --> 00:08:03,120 was crazy, and I flew to Florida and we recorded it, 148 00:08:03,199 --> 00:08:06,319 and then I made a bunch of connections. So now 149 00:08:06,360 --> 00:08:07,680 I've been doing this for about a year and a 150 00:08:07,680 --> 00:08:10,720 half now, and I think I'm about I'm a little 151 00:08:10,720 --> 00:08:14,040 over thirty projects in I think in about eighteen months, 152 00:08:14,639 --> 00:08:16,839 so it's it's been kind of a whirlwind. 153 00:08:17,560 --> 00:08:20,199 Speaker 4: Yeah, I really enjoyed listening to Rotaque Luma. 154 00:08:20,480 --> 00:08:21,639 Speaker 1: Was it any of your character playing that. 155 00:08:21,680 --> 00:08:25,879 Speaker 4: Game Yanickick, Yeah, one of the main characters there. So 156 00:08:26,839 --> 00:08:29,839 you've done both stage acting and voice acting. Now, what's 157 00:08:29,839 --> 00:08:31,959 been the most challenging part about transitioning from stage to 158 00:08:32,080 --> 00:08:33,799 voice only interesting? 159 00:08:34,000 --> 00:08:35,960 Speaker 1: You and I kind of talked about this when we 160 00:08:35,960 --> 00:08:38,399 were eating our meal. I think that stage acting and 161 00:08:38,480 --> 00:08:41,879 voice acting is actually very similar. And I don't want 162 00:08:41,879 --> 00:08:43,799 to die on this hill, but I but I think 163 00:08:43,840 --> 00:08:49,320 it's important to recognize that in live theater you should 164 00:08:49,320 --> 00:08:51,919 be able to communicate in such a way that if 165 00:08:51,919 --> 00:08:54,840 the audience member were to not be looking at you, 166 00:08:55,200 --> 00:08:58,320 if they were taking in something about the sets, or 167 00:08:58,399 --> 00:09:01,240 if they were, you know, watching the actor that you're 168 00:09:01,600 --> 00:09:05,960 opposing that you're having dialogue with, that they should be 169 00:09:05,960 --> 00:09:09,559 able to understand the emotion and the intent of what 170 00:09:09,600 --> 00:09:15,720 you're saying. And so, since that already exists in live theater, 171 00:09:16,000 --> 00:09:19,879 the transition to audio drama was really just sort of 172 00:09:20,039 --> 00:09:23,919 focusing in and honing on that specifically, but it wasn't 173 00:09:24,000 --> 00:09:27,279 really too different. In fact, I think there's a lot 174 00:09:27,320 --> 00:09:30,080 more grace sometimes in audio drama because in live theater, 175 00:09:30,440 --> 00:09:33,080 you practice and then you're doing a performance, and whatever 176 00:09:33,120 --> 00:09:35,159 comes out of your mouth, that's it. And even though 177 00:09:35,200 --> 00:09:38,399 you practice it a lot. Sometimes you'll leave the stage 178 00:09:38,440 --> 00:09:41,960 and you're like, why did I say that line like that? 179 00:09:41,679 --> 00:09:44,840 That is not how I normally say it, and that 180 00:09:44,960 --> 00:09:47,639 was weird. Now you have to give yourself grace. The 181 00:09:47,679 --> 00:09:51,080 audience probably did not notice. But the great thing about 182 00:09:51,120 --> 00:09:54,000 audio drama is you can do multiple takes and then 183 00:09:54,480 --> 00:09:58,759 hopefully the audio engineers and everybody in the editing room 184 00:09:58,960 --> 00:10:01,799 is going, Hey, that truly was the best line, and 185 00:10:01,799 --> 00:10:04,279 we're gonna use that one. Yeah, and I know that's 186 00:10:04,279 --> 00:10:04,879 the sole cliche. 187 00:10:04,919 --> 00:10:07,080 Speaker 4: But you can also record your lines while we're your 188 00:10:07,120 --> 00:10:07,919 pajama's at home. 189 00:10:08,679 --> 00:10:12,399 Speaker 1: You can, you can, and and I I will. I 190 00:10:12,440 --> 00:10:15,679 will admit my my booths sometimes gets hot, so I 191 00:10:15,759 --> 00:10:17,799 might start it might be winter, and I'll start in 192 00:10:17,879 --> 00:10:20,200 like in like pants and a sweater, and I'm like, 193 00:10:20,919 --> 00:10:23,639 I I have to switch to shorts and a T shirt. 194 00:10:23,679 --> 00:10:25,559 And I will be there because I don't have a 195 00:10:25,600 --> 00:10:26,919 cooling system in my room. 196 00:10:27,840 --> 00:10:30,320 Speaker 4: Yeah, it's it's it's tough being an actor and even 197 00:10:30,399 --> 00:10:31,279 on stage. 198 00:10:30,919 --> 00:10:31,840 Speaker 1: And in the booth. 199 00:10:33,759 --> 00:10:38,080 Speaker 4: So you've done many different roles, both on stage and 200 00:10:38,159 --> 00:10:40,720 audi drama. What has been some of your favorite roles 201 00:10:40,759 --> 00:10:42,960 you've played on the stage and also in audi drama. 202 00:10:43,000 --> 00:10:46,559 Speaker 1: So far, I think every show I I I probably 203 00:10:46,600 --> 00:10:50,039 have one that's that's really great. I'm like, right now 204 00:10:50,120 --> 00:10:54,440 I am the understudy for for Saul. It's fit and sound, 205 00:10:54,519 --> 00:10:59,120 and it's it's a lot of fun because Soul is 206 00:11:00,360 --> 00:11:04,679 a very troubled character. You know, even biblically we understand that, 207 00:11:04,799 --> 00:11:07,799 you know, the Lord sort of cursed him with this 208 00:11:07,799 --> 00:11:11,320 this unclean spirit that that that torments him. That and 209 00:11:11,480 --> 00:11:15,519 it's because he's constantly disobeying God, and so it's like 210 00:11:15,600 --> 00:11:18,639 he kind of wants to do what's right, but he's 211 00:11:18,679 --> 00:11:22,480 always just being selfish and doing his own thing. And 212 00:11:22,840 --> 00:11:26,559 so there's a lot of He's not just an angry character, 213 00:11:27,360 --> 00:11:31,039 Like he's still a Jew, he still wants to serve God. 214 00:11:31,440 --> 00:11:35,960 He recognizes that he was chosen originally for to, you know, 215 00:11:36,000 --> 00:11:39,679 to be the king. So it's not just an angry character. 216 00:11:40,279 --> 00:11:42,480 But there's a lot of depth. There's a lot of 217 00:11:42,519 --> 00:11:45,519 back and forth between like him trying to be this 218 00:11:45,720 --> 00:11:48,240 gentle character but also being quite a coward and then 219 00:11:48,279 --> 00:11:51,960 also being very angry. So I mean, that's just that's 220 00:11:52,000 --> 00:11:55,759 just fun to play. I think in audio drama, I 221 00:11:55,759 --> 00:11:58,039 don't even know if I could pick one, But I 222 00:11:58,080 --> 00:12:00,440 will say I do a lot of act scent work 223 00:12:00,440 --> 00:12:04,200 for audio dramas. And I grew up in Germany. My 224 00:12:04,480 --> 00:12:08,600 parents are missionaries. And I got to do the story 225 00:12:08,720 --> 00:12:12,879 of Fronciega Stetta for Mary Beggars, and I got to 226 00:12:12,919 --> 00:12:17,080 do a German accent for a whole audio drama and 227 00:12:17,120 --> 00:12:20,639 I felt very at home doing that. I felt I 228 00:12:20,639 --> 00:12:24,080 felt very at home doing that because because it felt 229 00:12:24,120 --> 00:12:26,440 like a piece of home. So that was really that 230 00:12:26,559 --> 00:12:27,159 was really fun. 231 00:12:27,919 --> 00:12:30,799 Speaker 4: Yeah, that's one of the great things about voice acting 232 00:12:30,879 --> 00:12:32,879 is you can be any character. Like on the stage, 233 00:12:33,000 --> 00:12:34,679 there's only so much that you can do with you know, 234 00:12:34,759 --> 00:12:37,720 makeup and costuming and that kind of stuff. But with 235 00:12:37,799 --> 00:12:40,360 you know, voice acting, you could be you know, you 236 00:12:40,399 --> 00:12:42,799 can just be you know, you play King Saul and 237 00:12:42,840 --> 00:12:46,960 an audiodrama, but you could also play you know, a dwarf, 238 00:12:47,000 --> 00:12:51,360 you could play you know, a talking rock or whatever 239 00:12:51,399 --> 00:12:53,639 you wanted to be with that. So, with that kind 240 00:12:53,639 --> 00:12:57,679 of flexibility doing voice acting, does it feel like it's 241 00:12:57,679 --> 00:13:00,639 a kind of more freeing thing or a more creative 242 00:13:00,840 --> 00:13:03,639 field in acting that way? Or is or does both 243 00:13:03,679 --> 00:13:05,320 have some kind of strength and weaknesses? 244 00:13:05,759 --> 00:13:09,799 Speaker 1: Uh? Definitely when more creative. So Glenn Haskell did the 245 00:13:10,000 --> 00:13:13,360 has the Range Drift Drifters, and in the Range Drifters, 246 00:13:13,759 --> 00:13:17,639 I auditioned to be these these snipes Grit and Gristle, 247 00:13:18,000 --> 00:13:20,840 And when I auditioned, I auditioned as both of them, 248 00:13:20,919 --> 00:13:23,320 and I saw them as sort of like brothers or 249 00:13:23,360 --> 00:13:25,960 best friends from the same region. So I did sort 250 00:13:26,000 --> 00:13:28,279 of this like almost think about like the Crooks from 251 00:13:28,320 --> 00:13:30,919 one hundred and one Dalmatians. I did this sort of 252 00:13:31,080 --> 00:13:34,799 like Cockney accent, I mean one like higher and one lower, 253 00:13:34,799 --> 00:13:37,600 and like they were these just as best buds from somehow, 254 00:13:37,720 --> 00:13:42,559 somehow England, even though Range Drifters is you know, not England, 255 00:13:43,840 --> 00:13:46,519 but these Snipes definitely were. But it was really it 256 00:13:46,559 --> 00:13:50,320 was really cool to uh to do that, because when 257 00:13:50,320 --> 00:13:52,159 Glenn got back to me, he's like, oh, I didn't 258 00:13:52,159 --> 00:13:55,200 even like see them necessarily as being like you know, 259 00:13:55,279 --> 00:13:58,000 like brothers or or like from a different place, but 260 00:13:58,080 --> 00:14:01,200 like that really works, and me being able to voice 261 00:14:01,279 --> 00:14:04,799 both characters was really fun. I had a blast doing 262 00:14:04,840 --> 00:14:07,679 it because I got to create this dynamic between these 263 00:14:07,679 --> 00:14:13,600 two characters by recording their dialogue back to back. But 264 00:14:13,639 --> 00:14:16,000 it was all my voice that was really fun. 265 00:14:16,679 --> 00:14:19,120 Speaker 4: So it was as a conscious challenge you wanted to 266 00:14:19,120 --> 00:14:20,679 put on yourself, like to do both of them back 267 00:14:20,679 --> 00:14:23,039 to back, rather than it's recording all of like grits 268 00:14:23,200 --> 00:14:24,519 lines than doing gristles later. 269 00:14:24,799 --> 00:14:28,399 Speaker 1: No, I did actually record them separately, but but I 270 00:14:28,440 --> 00:14:30,600 did go back and forth, like when I was working 271 00:14:30,600 --> 00:14:33,559 and establishing there were certain things I wanted to kind 272 00:14:33,559 --> 00:14:37,759 of hit to work together. So I don't remember if 273 00:14:37,799 --> 00:14:41,600 I if I gave him any scenes of them speaking together, 274 00:14:42,360 --> 00:14:44,480 but in my work, in my prep work, when I 275 00:14:44,519 --> 00:14:46,600 was just kind of thinking about the characters, I did 276 00:14:46,600 --> 00:14:48,799 do that, and it kind of helped establish some of 277 00:14:48,840 --> 00:14:52,960 the some of the nuance of like their relationship. Nice. 278 00:14:53,080 --> 00:14:54,840 Speaker 4: So I think we kind of covered this a little 279 00:14:54,840 --> 00:14:57,000 bit earlier. But what are some skills you've learned to 280 00:14:57,039 --> 00:14:59,440 the stage doctor that he's been voice acting, And also 281 00:15:00,039 --> 00:15:01,759 are some things in voice acting you've been able to 282 00:15:02,480 --> 00:15:04,440 use to prove your crafts when your sage actor. 283 00:15:06,080 --> 00:15:07,600 Speaker 1: Well, I think one of the hardest things about voice 284 00:15:07,600 --> 00:15:09,360 acting is you almost always have the script in front 285 00:15:09,360 --> 00:15:11,639 of you because you don't memorize it right, and so 286 00:15:11,799 --> 00:15:15,399 you have to learn to kind of really take the 287 00:15:15,440 --> 00:15:18,200 line off the page and not sound like you're reading. 288 00:15:18,679 --> 00:15:22,120 So that has been a challenge, but I but it's 289 00:15:22,120 --> 00:15:24,879 not a challenge in live theater because you're memorized and 290 00:15:25,159 --> 00:15:27,399 you're not standing up there with your script. And so 291 00:15:27,639 --> 00:15:31,000 I really try I utilize this method, and I forget 292 00:15:31,159 --> 00:15:34,480 there is there is an actual acting coach who uses 293 00:15:34,519 --> 00:15:36,240 this phrase, and I could not tell you his name 294 00:15:36,320 --> 00:15:40,080 right now, but he does say taking the line off 295 00:15:40,120 --> 00:15:42,759 the page, and so it's it's you're reading it and 296 00:15:42,799 --> 00:15:45,120 you're just giving yourself like short of that quick memorization 297 00:15:45,200 --> 00:15:46,840 and then you're just looking up and saying it, so 298 00:15:46,840 --> 00:15:49,279 you're not actually reading it. And so that's one of 299 00:15:49,320 --> 00:15:51,639 those things that's helpful because like when we read, we 300 00:15:51,799 --> 00:15:54,080 sometimes stumble on the words, but because we're reading with it, 301 00:15:54,159 --> 00:15:57,240 we know we stumbled, and so I try and bring 302 00:15:57,240 --> 00:16:00,320 it off the page as much as I can. I 303 00:16:00,360 --> 00:16:04,879 think a little bit more about the emotion. I don't 304 00:16:04,960 --> 00:16:09,360 like trying to make lines sound a certain way. I 305 00:16:09,559 --> 00:16:14,440 like actually experiencing them as the character. And there's different 306 00:16:14,440 --> 00:16:18,799 thoughts about that in live theater. There's the whole debate 307 00:16:18,840 --> 00:16:23,080 about like method acting or different methods of acting, and 308 00:16:24,399 --> 00:16:28,639 some people really like to become the character some people 309 00:16:28,679 --> 00:16:32,080 really like to just know how to create certain emotions. 310 00:16:32,120 --> 00:16:34,279 And I don't like thinking about acting as something that's 311 00:16:34,320 --> 00:16:38,279 like super mechanical. I like thinking about it as experiencing 312 00:16:39,000 --> 00:16:42,279 what that character is experiencing and how you say the line, 313 00:16:42,440 --> 00:16:45,679 And so I just really try to approach it in 314 00:16:45,879 --> 00:16:51,559 that light. How would this person say this line in 315 00:16:51,720 --> 00:16:54,759 order to communicate this thing? And then if I get 316 00:16:54,799 --> 00:16:57,679 direction that says, ah, I want that to sound a 317 00:16:57,720 --> 00:17:01,240 little bit more, you know, a little bit more melancholy. 318 00:17:01,759 --> 00:17:05,119 I'm like, okay, but I try and like physically change 319 00:17:05,160 --> 00:17:10,440 myself into that position. I worked with the director recently, 320 00:17:11,079 --> 00:17:15,559 Margaret Smith, on a production for Mary Beggars, and she 321 00:17:15,759 --> 00:17:18,160 kept saying that she said, put the lines in your body, 322 00:17:18,720 --> 00:17:20,720 like don't just read it off the page, like let 323 00:17:20,799 --> 00:17:25,359 your body express what is happening, because it's all connected, 324 00:17:25,640 --> 00:17:30,240 you know, And that that's definitely helped me. That's helped 325 00:17:30,279 --> 00:17:32,839 me communicate the way that I want to communicate when 326 00:17:32,880 --> 00:17:33,799 I'm doing audio drama. 327 00:17:34,559 --> 00:17:38,480 Speaker 4: But yeah, that's some great advice there. So it's that 328 00:17:38,599 --> 00:17:40,400 just been you that have been doing all drama recently. 329 00:17:40,440 --> 00:17:42,839 It's also been your daughter Lizel. Yeah, So what's it 330 00:17:42,880 --> 00:17:45,440 been like sin your daughter star voice acting as well. 331 00:17:47,039 --> 00:17:51,039 Speaker 1: It's it's been really fun. I had the idea to 332 00:17:51,160 --> 00:17:54,920 ask her if she was interested because Glenn was doing 333 00:17:55,880 --> 00:17:58,119 another arrange strift as one with the Goats, and it 334 00:17:58,160 --> 00:18:00,960 was the first thing she auditioned for. I forget what 335 00:18:01,000 --> 00:18:03,319 the original name was. I think it ended up being 336 00:18:03,319 --> 00:18:05,680 called Jumpy the Goat in the final form. I don't 337 00:18:05,680 --> 00:18:08,720 think that's what the audition said, but I just there 338 00:18:08,720 --> 00:18:11,640 were sort of three different age goats and I was like, oh, 339 00:18:11,720 --> 00:18:13,880 there's this young goat. This would probably be great as 340 00:18:13,880 --> 00:18:15,680 a kid. So I had to read for it and 341 00:18:15,720 --> 00:18:18,079 like he loved it, and then he reached out and 342 00:18:18,200 --> 00:18:21,079 was like, I love how hard voice sounds. You think 343 00:18:21,160 --> 00:18:25,519 she could play younger Bethany Baldwin And it was kind 344 00:18:25,519 --> 00:18:30,000 of perfect because Bethany's told me that she had a 345 00:18:30,079 --> 00:18:33,440 raspy voice as a kid, and Lie's definitely has that. 346 00:18:33,519 --> 00:18:36,799 She's got this cute little rasp. But I've gotten a director, 347 00:18:37,000 --> 00:18:41,599 which has been really great. Frustrating at times because that 348 00:18:41,839 --> 00:18:46,319 parent child relationship is less professional than you know, when 349 00:18:46,319 --> 00:18:49,000 you're working with someone else's kid. You were always very 350 00:18:49,039 --> 00:18:51,680 put together, and you can get frustrated as Baron, but 351 00:18:51,720 --> 00:18:55,079 I try to be very kind. But it's been It's 352 00:18:55,119 --> 00:18:58,640 helped me shape her and she's she's improved so much 353 00:18:58,759 --> 00:19:02,880 as a little actress herself because she's recognizing things where 354 00:19:03,000 --> 00:19:05,759 she'll even read a line and she'll say to me, oh, 355 00:19:05,799 --> 00:19:08,119 that sounded like I was reading it, or she'll say, oh, 356 00:19:08,160 --> 00:19:10,720 I was definitely acting there. I wasn't becoming the character. 357 00:19:11,240 --> 00:19:13,319 Just these little things, these little phrases that I try 358 00:19:13,359 --> 00:19:17,079 and help her get into that headspace, and it's been great. 359 00:19:17,359 --> 00:19:20,680 She struggles in prep work, and you know, recently we 360 00:19:20,720 --> 00:19:24,759 did we did something for Glenn where she really got 361 00:19:24,799 --> 00:19:26,839 time with the script before we got into the studio, 362 00:19:27,400 --> 00:19:29,519 and when we got there, she had a lot of 363 00:19:29,559 --> 00:19:32,640 fun because she was prepared and she was ready and 364 00:19:32,680 --> 00:19:35,759 we had these really great takes. And she's starting to 365 00:19:35,799 --> 00:19:39,480 recognize when limestone sound the way she wants them to sound. 366 00:19:39,960 --> 00:19:42,640 And so it's been cool to see this last year 367 00:19:42,839 --> 00:19:46,079 to see her grow and get better. And I hope 368 00:19:46,079 --> 00:19:48,079 she wants to do it. I'm not going to push her. 369 00:19:48,160 --> 00:19:51,440 I've never wanted to be that parent that like forces 370 00:19:51,480 --> 00:19:54,839 my kid to do something. So even whenever Glenn says, hey, 371 00:19:54,880 --> 00:19:57,319 does she want to do this next project. I never 372 00:19:57,359 --> 00:19:59,720 say yes without asking her and seeing what she thinks 373 00:19:59,759 --> 00:20:02,759 about it. So we'll see, we'll see if she keeps 374 00:20:02,799 --> 00:20:04,759 doing it. But for now, she's enjoying it. 375 00:20:05,240 --> 00:20:07,559 Speaker 4: Yeah, she's done a great job, especially like listening to 376 00:20:07,599 --> 00:20:10,599 her in time to listen to the Window See Exclusive 377 00:20:10,680 --> 00:20:14,599 show like Glenn Producers, And yeah, she's she's a very 378 00:20:14,880 --> 00:20:17,440 very great talent when it comes to that. And it's 379 00:20:17,480 --> 00:20:20,000 great that you're both kind of learning this field at 380 00:20:20,000 --> 00:20:22,079 the same time, and you're also learning more of the 381 00:20:22,119 --> 00:20:24,920 directing side of things where you've even on the acting 382 00:20:24,960 --> 00:20:25,640 side most. 383 00:20:25,440 --> 00:20:29,359 Speaker 1: Of the time. Yeah. Yeah, and I'm I'm enjoying that. 384 00:20:29,440 --> 00:20:33,119 I have. I wrote and put together one audio drama 385 00:20:33,279 --> 00:20:36,720 of my own which is on Spotify. It's called The 386 00:20:36,799 --> 00:20:41,559 Vermont Problem and and it's it's only on Spotify. I 387 00:20:41,640 --> 00:20:44,279 might I might put it on other places at some 388 00:20:44,400 --> 00:20:47,160 point if I can figure out how to do that. 389 00:20:47,200 --> 00:20:52,519 But it's a yeah, it's sandbox audio drama's Uh. My 390 00:20:52,519 --> 00:20:55,559 my friend Blake wrote the script after from an idea, 391 00:20:56,079 --> 00:20:57,839 and so I got to direct that and put it 392 00:20:57,839 --> 00:21:00,000 together and it was a lot harder than we thought. 393 00:21:02,319 --> 00:21:04,559 Anyone out there wanting to get into audio drama and 394 00:21:04,599 --> 00:21:06,480 you're just like, oh, hey, I'm going to produce an 395 00:21:06,519 --> 00:21:09,640 audio drama. It's a lot of work. I mean, the 396 00:21:09,680 --> 00:21:13,440 episode is only six minutes long, and getting into doing 397 00:21:13,480 --> 00:21:16,079 like the fully work the music, making it sound right, 398 00:21:17,160 --> 00:21:21,960 doing the track edits and the normalizing and all of 399 00:21:21,960 --> 00:21:26,400 that was a lot of work. And so I mean, 400 00:21:26,799 --> 00:21:29,160 respect Austin, I know you do this. You do this 401 00:21:29,240 --> 00:21:32,039 all the time, and it's a lot of work, and 402 00:21:32,079 --> 00:21:34,160 there's so much time and energy that goes into this. 403 00:21:34,799 --> 00:21:37,279 But yeah, getting to direct. I got to direct to 404 00:21:37,440 --> 00:21:41,759 my friends in that and that was really neat because 405 00:21:41,799 --> 00:21:44,000 they had never done audio drama and they are stage 406 00:21:44,000 --> 00:21:48,640 actors and so getting to help them find their voice 407 00:21:48,640 --> 00:21:51,240 in those characters was really great. And I hope to 408 00:21:51,240 --> 00:21:55,240 do more. We are My friend Blake and I were 409 00:21:55,279 --> 00:21:57,640 gonna meet up here next week to talk about doing 410 00:21:57,680 --> 00:22:00,839 another production that will hopefully be about fifteen minutes long. 411 00:22:01,279 --> 00:22:04,039 So we're still doing it. We're still looking to do more, 412 00:22:04,319 --> 00:22:06,759 and uh, we'll see, We'll see what happens there. 413 00:22:07,640 --> 00:22:09,519 Speaker 4: That's great that you're you know, branch out to new 414 00:22:09,559 --> 00:22:12,240 avenues because I know Toba Steed has talked about this 415 00:22:12,359 --> 00:22:16,039 quite a bit. Is that you shouldn't just be focused 416 00:22:16,039 --> 00:22:19,759 on your own kind of discipline, learn about everybody else's. 417 00:22:19,759 --> 00:22:21,960 So as an actor, you're learning about directing now and 418 00:22:21,960 --> 00:22:24,720 then producing and writing and sounds on that kind of stuff. 419 00:22:25,000 --> 00:22:27,079 So not just only that you kind of feel for 420 00:22:27,119 --> 00:22:29,200 those people to have to deal with those things, but 421 00:22:29,480 --> 00:22:32,359 you can learn those skills and also like, oh so 422 00:22:32,440 --> 00:22:35,079 like for a director or like as an actor, I 423 00:22:35,119 --> 00:22:37,359 can know a little bit more of what the director 424 00:22:37,400 --> 00:22:39,640 wants or what a director is looking for. That helps 425 00:22:39,759 --> 00:22:43,000 improve your performance. So yeah, that's that's great that you're 426 00:22:43,039 --> 00:22:47,920 doing that. So wrapping up here, you've been quite a 427 00:22:47,920 --> 00:22:50,960 few productions lately and stuff that you've recorded. Is there 428 00:22:50,960 --> 00:22:54,880 some productions that are upcoming or once I've recently released 429 00:22:54,880 --> 00:22:58,079 that you're really excited about or want to give a 430 00:22:58,119 --> 00:22:58,519 plug for. 431 00:22:59,559 --> 00:23:04,079 Speaker 1: Yeah, I'm I'm actually probably most excited right now for Well, 432 00:23:04,119 --> 00:23:06,240 there's a couple that I can't talk about because they're 433 00:23:06,240 --> 00:23:09,640 gonna they're they're gonna drop somewhere, but just keep your 434 00:23:09,680 --> 00:23:12,119 out for my name, I guess if you want to 435 00:23:12,240 --> 00:23:14,880 hear something else that I'm in and I'm sure when 436 00:23:14,880 --> 00:23:17,720 they drop. Some of them are from are from some 437 00:23:17,839 --> 00:23:20,680 producers that I know that ATC definitely falls and talks 438 00:23:20,720 --> 00:23:23,440 about so they'll probably get plugged on the show when 439 00:23:23,480 --> 00:23:26,720 that happens. So that's exciting and I'm excited about those. 440 00:23:27,079 --> 00:23:28,720 One that I know that I can talk about just 441 00:23:28,759 --> 00:23:31,400 because you know they're always churning out new material is 442 00:23:31,559 --> 00:23:34,640 the Mary Beggars is doing a Saint Nicholas show and 443 00:23:34,640 --> 00:23:37,480 that is coming out in the end of November. So 444 00:23:37,519 --> 00:23:43,119 that's for their Saints podcast, and it is usually let's see, 445 00:23:43,279 --> 00:23:46,480 it's a five parter they're there. They're usually five episodes 446 00:23:46,839 --> 00:23:49,720 that are, you know, fifteen to twenty minutes long each, 447 00:23:50,480 --> 00:23:53,200 so it clocks in around an hour to an hour 448 00:23:53,319 --> 00:23:58,440 fifteen for those five episodes. And it's the it's the 449 00:23:58,519 --> 00:24:03,200 dramatized true story of Saint Nicholas. What's cool about that 450 00:24:03,359 --> 00:24:07,200 is St. Nicholas is you know who we base Santa 451 00:24:07,200 --> 00:24:09,319 Claus on. But like, as you're doing this story, you 452 00:24:09,359 --> 00:24:14,119 start going, yeah, barely. It's just like when you actually 453 00:24:14,160 --> 00:24:17,720 study Saint Nicholas, you're like, this is close to the 454 00:24:17,759 --> 00:24:20,799 idea of Santa Claus, but only because he gave somebody 455 00:24:21,119 --> 00:24:26,240 gifts in secret. But I'm excited about that episode. I'm 456 00:24:26,240 --> 00:24:28,599 excited for my kids to hear it. We as a family, 457 00:24:28,640 --> 00:24:31,119 we we sell because I grew up in Germany, we 458 00:24:31,200 --> 00:24:35,279 celebrate St. Nicholas Day by you know, putting out choosing 459 00:24:36,200 --> 00:24:38,519 at our front door and getting you know, chocolate and 460 00:24:38,519 --> 00:24:40,960 stuff in them. So my kids are gonna be excited 461 00:24:40,960 --> 00:24:44,119 to hear about St. Nicholas. So I'm excited about that 462 00:24:44,119 --> 00:24:46,200 when you can look for that from the Saints podcast 463 00:24:46,240 --> 00:24:47,279 from the Mary Bakers. 464 00:24:48,119 --> 00:24:51,000 Speaker 4: All right, well, this has been so much fun into 465 00:24:51,200 --> 00:24:53,400 know a little bit more about Ian and some of 466 00:24:53,400 --> 00:24:56,640 the projects that you've worked on and things that you've 467 00:24:56,720 --> 00:25:00,480 learned that hopefully listeners can take the heart and apply 468 00:25:01,480 --> 00:25:04,359 some of those things that you've learned to their own discipline, 469 00:25:04,359 --> 00:25:07,039 whether it's an auto dramma or somewhere else. But thank 470 00:25:07,079 --> 00:25:10,200 you so much for doing this interview, and appreciate you 471 00:25:10,240 --> 00:25:11,720 taking the time to do this. 472 00:25:12,000 --> 00:25:13,559 Speaker 1: Yeah, absolutely, thank you for having me. 473 00:25:14,759 --> 00:25:17,200 Speaker 2: Well, thanks again to Ian for taking the time to 474 00:25:17,319 --> 00:25:20,240 sit down and do this interview for us, and thanks 475 00:25:20,240 --> 00:25:24,720 to Austin for recording this interview. Really loved what he 476 00:25:24,759 --> 00:25:27,759 had to say there and his approach to acting and 477 00:25:27,799 --> 00:25:32,839 bringing characters to life. Such great information there. Well, he 478 00:25:32,960 --> 00:25:35,640 mentioned a few different projects that he has been involved in, 479 00:25:36,480 --> 00:25:39,599 and one in particular was the five part episode of 480 00:25:39,640 --> 00:25:43,920 The Saints about Franz Jagerstatter. I think is how you 481 00:25:43,960 --> 00:25:48,039 say that I don't speak German like he does. But 482 00:25:48,240 --> 00:25:51,119 that is linked in the show notes and also First 483 00:25:51,119 --> 00:25:54,559 Acts Productions Range Drifters that is also linked up in 484 00:25:54,559 --> 00:25:57,279 the show notes, so you can hear him voicing those 485 00:25:57,599 --> 00:26:01,359 snipe characters that he talked about. And also Time to Listen, 486 00:26:01,519 --> 00:26:05,319 which is the show that Austin referenced that Ian's daughter 487 00:26:05,400 --> 00:26:08,680 Lisa has been in, and so that is a window 488 00:26:08,720 --> 00:26:12,079 Seat exclusive show. If you already have a window Seat account, 489 00:26:12,079 --> 00:26:13,599 you can click the link in the show notes. It'll 490 00:26:13,640 --> 00:26:16,200 directly open up the app. If you don't already have 491 00:26:16,240 --> 00:26:18,440 a window Seat account, you can join and do a 492 00:26:18,480 --> 00:26:21,319 free trial if you want to check out this show. Incidentally, 493 00:26:21,759 --> 00:26:25,920 also in Time to Listen, you will hear me as 494 00:26:26,000 --> 00:26:29,200 a few different characters and you'll also hear Austin And 495 00:26:29,279 --> 00:26:31,640 there's actually a scene or two in an episode where 496 00:26:31,680 --> 00:26:33,599 Austin and I get to play off of each other 497 00:26:33,640 --> 00:26:36,759 as some really fun characters. So Time to Listen is 498 00:26:37,039 --> 00:26:40,480 a micro audio drama series by Glenn Haskell and his 499 00:26:40,559 --> 00:26:45,359 first Ax Productions. Really interesting show, so that is worth 500 00:26:45,559 --> 00:26:49,440 checking out. Also linked up in the show notes is 501 00:26:49,519 --> 00:26:51,799 Ian's IMDb page if you want to check that out. 502 00:26:52,519 --> 00:26:56,359 And also his own audio drama that he mentioned, Sandbox 503 00:26:56,400 --> 00:27:00,240 Audio Dramas. The first episode called The Vermont Problem. It 504 00:27:00,319 --> 00:27:02,759 is linked up in the show notes as well, and 505 00:27:02,839 --> 00:27:06,039 it's quite an interesting little micro audio drama. I think 506 00:27:06,079 --> 00:27:08,160 it's worth a listen. I got to hear a pre 507 00:27:08,279 --> 00:27:11,680 release version of that show and really enjoyed it, so 508 00:27:12,079 --> 00:27:15,480 I think it's worth checking out. Now. You'll also be 509 00:27:15,559 --> 00:27:19,000 hearing Ian in the upcoming audio drama Alliance production of 510 00:27:19,079 --> 00:27:22,119 The Hardy Boys and The Tower Treasure. That page is 511 00:27:22,160 --> 00:27:24,680 linked in the show notes as well. That is still 512 00:27:24,720 --> 00:27:26,759 in the works. It is coming. It's moving a little 513 00:27:26,799 --> 00:27:28,759 bit slower than we would have liked, but it is 514 00:27:28,799 --> 00:27:31,279 still coming, so you'll get to hear Ian in that 515 00:27:31,400 --> 00:27:34,480 show as well. And the last audio drama that I 516 00:27:34,480 --> 00:27:38,200 want to mention is an upcoming episode of a bit 517 00:27:38,240 --> 00:27:42,519 of time travel from somewhat Significant Audio Productions. This episode 518 00:27:42,559 --> 00:27:46,000 is called The Viking and we don't have a firm 519 00:27:46,119 --> 00:27:49,119 release date at this point, but it will be coming 520 00:27:49,160 --> 00:27:51,559 soon and you will hear Ian as one of the 521 00:27:51,559 --> 00:27:54,599 main characters in that one. So here is the trailer 522 00:27:54,680 --> 00:27:57,319 for the Viking from a bit of time travel. 523 00:28:02,160 --> 00:28:05,960 Speaker 3: Look, every Sunday I goes out fishing on the coast, 524 00:28:06,079 --> 00:28:08,599 and I roast what I catch, all good and proper, 525 00:28:08,640 --> 00:28:11,359 over a fire, and I sleep under some trees like 526 00:28:11,440 --> 00:28:16,559 I swallow newborn nears. Where I'm sleeping. One night, I 527 00:28:16,640 --> 00:28:20,799 see something strange in the marshalings, this glistening thing in 528 00:28:20,839 --> 00:28:24,680 the moonlight. Now I don't think my job it till 529 00:28:24,720 --> 00:28:27,160 the following morning, when I goes and sees it. The 530 00:28:27,160 --> 00:28:30,079 marshalings been drained a little. Must have had something to 531 00:28:30,079 --> 00:28:32,759 do with all their construction at Farmer Langley's farm, I 532 00:28:32,799 --> 00:28:37,039 says to myself. But again I see this thing, and 533 00:28:37,279 --> 00:28:40,279 this time a little clearer. It was like one of 534 00:28:40,319 --> 00:28:43,759 them telephone boxes. But it was it red, not even 535 00:28:43,839 --> 00:28:47,640 red like, but gray like my own eyes, and green 536 00:28:48,000 --> 00:28:52,720 like the emeralds on a kingly crown. So I gets 537 00:28:52,759 --> 00:28:55,279 the idea, you see, trying to get the box out 538 00:28:55,359 --> 00:28:58,920 of there, I tries, and I tries then borrow a 539 00:28:58,960 --> 00:29:02,480 farmer Langley struck to help with it. Well, what borrows up, 540 00:29:02,640 --> 00:29:06,279 I mean steals it of course, and I gets it free, 541 00:29:06,680 --> 00:29:08,279 and then I wipes it a bit with the ball 542 00:29:08,400 --> 00:29:11,119 on my hand, and I seize the words clear as day, 543 00:29:12,200 --> 00:29:20,279 time machine. You see. I'll let you use the machine 544 00:29:20,279 --> 00:29:23,000 free at George. All I'd ask in return is that 545 00:29:23,079 --> 00:29:26,559 you order a couple of ales next time. Mister Forbug passes. 546 00:29:26,200 --> 00:29:32,119 Speaker 1: By buying those strings, Thomas, what buying those drinks? I said? 547 00:29:33,200 --> 00:29:36,759 And after you've had them, mister Nickleby, you'll show us 548 00:29:36,759 --> 00:29:37,920 where this machine is. 549 00:29:40,200 --> 00:29:43,960 Speaker 3: Ay, that's a deal, mister Olson, A grand deal. 550 00:29:47,920 --> 00:29:53,559 Speaker 1: Spencer, Spencer, Now what do we have here? 551 00:29:54,880 --> 00:30:00,000 Speaker 2: Come here a drunk with a time machine. 552 00:30:00,440 --> 00:30:03,680 Speaker 3: I've seen it all, seeing a lot more rom show. 553 00:30:05,960 --> 00:30:07,240 Speaker 1: M man. 554 00:30:07,720 --> 00:30:11,799 Speaker 2: I'm pretty excited about hearing that one. So my understanding 555 00:30:12,000 --> 00:30:15,240 is that Ian plays Spencer Olsen there, so not the 556 00:30:15,519 --> 00:30:18,000 first character you hear. I believe that was Jonathan Cook, 557 00:30:18,759 --> 00:30:21,599 but every single episode of a Bit of Time Travel 558 00:30:21,799 --> 00:30:25,519 is so interesting and really really looking forward to hearing that. 559 00:30:25,680 --> 00:30:28,599 So anyway, that's another project that is coming soon that 560 00:30:28,720 --> 00:30:31,799 you will hear, Ian lolam in. So again, all of 561 00:30:31,799 --> 00:30:34,160 these projects are linked up in the show notes. 562 00:30:34,400 --> 00:30:35,960 Speaker 1: So what do you think of the show? 563 00:30:40,680 --> 00:30:42,000 Speaker 3: Please leave your message. 564 00:30:41,640 --> 00:30:44,960 Speaker 1: After the Chowne Hi, Audi the Central, Hey guys, this 565 00:30:45,079 --> 00:30:45,559 is awesome. 566 00:30:45,559 --> 00:30:49,559 Speaker 3: Preach hell about j D Royan Andrew minum is Victoria now. 567 00:30:49,599 --> 00:30:51,880 Yesterday I received a letter from a big band. 568 00:30:52,039 --> 00:30:53,839 Speaker 1: No time to travel. I've got an email. 569 00:30:53,880 --> 00:30:56,119 Speaker 3: Listen another package for me today? 570 00:30:56,240 --> 00:30:57,599 Speaker 1: No exactly, just your mail. 571 00:31:01,359 --> 00:31:02,799 Speaker 2: Well, if you'd like to get in touch with us, 572 00:31:03,160 --> 00:31:06,039 those same old methods are still available as always. You 573 00:31:06,039 --> 00:31:09,559 can email feedback at audio Theatercentral dot com, comment on 574 00:31:09,599 --> 00:31:13,039 the show notes, or send a text message or leave 575 00:31:13,079 --> 00:31:16,160 a voicemail to six two three six eight eight two 576 00:31:16,200 --> 00:31:21,279 seven seven zero. Well. Jacob commented on episode two twenty 577 00:31:21,319 --> 00:31:24,079 one our review of the Victory of Joan of Arc 578 00:31:24,759 --> 00:31:27,640 and he said, I enjoyed this episode. A few months ago, 579 00:31:27,920 --> 00:31:31,160 I discovered Airship Genesis from David Jeremias Ministry after you 580 00:31:31,240 --> 00:31:34,039 mentioned it in an episode. As of season two, I've 581 00:31:34,079 --> 00:31:37,160 noticed Airship Genesis has expanded to a half hour format 582 00:31:37,559 --> 00:31:40,680 versus the fifteen minute episodes in season one. Just wanted 583 00:31:40,680 --> 00:31:43,559 to let you know about that, so thank you, Jacob, 584 00:31:43,599 --> 00:31:46,720 really appreciate that. And as I mentioned in a recent episode, 585 00:31:46,839 --> 00:31:50,480 this is now available as a podcast feed, so if 586 00:31:50,519 --> 00:31:52,119 you want to check out this show, that is also 587 00:31:52,200 --> 00:31:56,079 linked in the show notes, and I haven't dug two 588 00:31:56,079 --> 00:31:58,200 deeply into it yet, but the episodes that I have 589 00:31:58,359 --> 00:32:01,720 heard I really enjoyed, so if you want to check 590 00:32:01,759 --> 00:32:05,759 that out, it is available as a podcast for free. 591 00:32:05,799 --> 00:32:07,519 Well that's going to do it for this episode. Thank 592 00:32:07,519 --> 00:32:10,319 you so much for coming along for this bonus episode. 593 00:32:10,839 --> 00:32:13,759 The show notes are at Audio Theatercentral dot com slash 594 00:32:13,799 --> 00:32:17,160 two two two. All the links to everything we've covered 595 00:32:17,319 --> 00:32:21,039 in this episode, including that photo of Ian and Austin, 596 00:32:21,200 --> 00:32:24,440 can be found at that link, and of course, join 597 00:32:24,480 --> 00:32:27,240 the ATC Insiders our email list if you want to 598 00:32:27,279 --> 00:32:29,200 stay up to date with all that we've got going 599 00:32:29,240 --> 00:32:32,759 on here now. Paul McCusker will be joining the show 600 00:32:32,799 --> 00:32:35,400 in our next episode, so you don't want to miss that. 601 00:32:35,839 --> 00:32:38,839 Stay tuned. I will see you next time. Thank you 602 00:32:38,880 --> 00:32:41,000 so much for listening, and I hope you have a 603 00:32:41,000 --> 00:32:50,119 great Thanksgiving. Audio Theater Central is a production of Portside 604 00:32:50,160 --> 00:32:53,519 Family Media. Our theme music was composed by Sam Avandanio. 605 00:32:53,960 --> 00:32:56,960 The show is produced and edited by yours truly, JD. Sutter, 606 00:32:57,359 --> 00:33:05,799 and our website is Audio Theatercentral dot com. What in 607 00:33:05,839 --> 00:33:08,319 the world is going on with the Whistling says that 608 00:33:08,440 --> 00:33:09,279 never happens to me. 609 00:33:10,599 --> 00:33:14,759 Speaker 1: Scorchlight Family Media your source for family centered content. 610 00:33:15,400 --> 00:33:19,880 Speaker 3: Scorchlightfamilymedia dot com